continued...

 The threshold and makeup gain knobs are the only continuously variable knobs on the compressor. The ratio and release time knobs are detented with six possible positions, while the attack time control offers seven positions. Compression ratios include 1.5:1, 2:1, 3:1, 4:1, 10:1 and limit. Attack times settings are 0, 0.1, 0.3, 1.3, 10 and 30 milliseconds (ms); release times include 100 ms, 300 ms, 600 ms, 1.2 seconds, 2.4 seconds and auto. The C2 offers XLR-balanced, +4 dBu I/Os only; sidechain inputs are also on balanced XLR connectors. A three-position switch selects various output options, including balanced, pin 2 hot unbalanced and pin 3 hot unbalanced.

One can pretty much forget using the C2 with -10 db signals, as the threshold control only goes down to -20 dB. This control bottoms out at -4 dB with a -10 dB signal, which isn't nearly low enough. On the other side, the makeup gain control offers a generous range from 0 dB to +20 dB.

Crush mode drives the C2 into not-so-subtle FET distortion. When engaged, the C2's output level jumps up nearly 3 dB and upper harmonics are accentuated. It appears the compressor also adds a dose of equalization in this mode, which serves to carve out the mid- and low-mid frequencies a few dB. The amount of distortion added appears to be fixed and is unrelated to input level, output level or the amount of gain reduction applied. Hence you could use the C2 to add some distortion (but no compression) by taking the threshold all the way up and engaging both compression and crush modes.

In Use

The C2's obvious similarities to the SSL compressor had me eager to try it on a stero mix, and it didn't disappoint. The pop/rock mix I first ran through the compressor was fuller, tighter and slightly clear-sounding with the C2 dialed in. The mix actually picked up a touch of nice high-frequency sizzle, which is in stark contrast to the many compressors that dull the signal. The C2 just punched up the energy a few notches, and made the mix sound more cohesive. Taking the Smart Research compressor out of the mix gave me instant withdrawals.

Changing attack time, release time and compression ratio let me find several useful settings, each with a slightly different sound. Normally, I feel blessed to find a single setting that works for the song. After a few minutes tweaking, I settled on a semi-fast attack time and autorelease. The C2 continued to impress me song after song and I ended up mixing a full album through it. With every mix, I found the auto release time impossible to beat with a manual setting. The C2's very low 1.5:1 ratio was perfect for stealthily adding more punch to an already good mix.

The C2 is every bit as impressive on individual instruments and voices. With the right settings, vocals leave the compressor with dynamics tamed and character intact. I had to dial up a healthy 12 dB of gain reduction before the compression really called attention to itself; milder settings were barely noticable. Again, the C2's 1.5:1 ratio at a low threshold did a great job smoothing out vocals.

<< previous page | next page >>